Red Carpet Lineup: BAFTA w/ Cate, Rooney, Angela...

Jose here. London, bloody London, or rainy for that matter. It seems that as usual, it was either freezing, rainy or both at the BAFTA red carpet, and while sometimes the inclement weather makes for some truly adorable moments when actresses must accesorize accordingly (remember Marion's cute faces trying to stay dry in 2013?) sometimes it doesn't (Kate's gigantic umbrella in 2009 was a tragedy) This year we had two beautiful ladies showing us the right and wrong way to do it. Rooney Mara took on the red carpet in Givenchy Haute Couture which she chose to cover under a shapeless black coat. Once she removed it, there wasn't much to see either, she has worn this exact same dress at least 100 times by now. She gets points for being so funny/dismissive about the red carpet game though.

No, everyone's yelling at you"

...she said to a reporter who asked if she liked the experience.

more after the jump...

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Red Carpet Lineup XXL: Nicole, Jada, Paz and Kate(s)

Jose here. Nicole Kidman won another award! Nathaniel recently praised her work in Photograph 51 in London, and the voters at the Evening Standard Theatre Awards agreed with him, for they gave her a Best Actress award to go with her Oscar, Globes and other statuettes.

Nicole wasn't the only movie-related winner: James McAvoy and Imelda Staunton, also won awards for their work in The Ruling Class and Gypsy, respectively. At the event Nicole was simply majestic in an Alexander McQueen design.

...and before you all whine about how Cate wore it better (she did wear a similar McQueen to the Robin Hood premiere at Cannes in 2010),  be reminded that...

a) McQueen should be worn by all screen queens
b) Nicole is flawless!
c) Cate was in Robin Hood...
d) most importantly, Cate and Nicole love each other as proved by this image to your left.

Before I lose you to fantasizing about Nicole and Cate in Carol Part Deux, let's move on to our other looks of the week...

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Red Carpet: A Couture Splash at Venice and Meh for TIFF

Diane Kruger wears L-R: Oscar de la Renta, BOSS, Cushnie et Ocs, Prada

Jose here with a very important question: can you imagine deigning to be the film that plays in a theater where Diane Kruger is dressed looking like she always does? Not only does she usually make a case for being the one human being worthy of Best Cinematography awards, she must also distract fellow audience members who can't resist but admire her, rather than see whatever's happening onscreen. The exquisite fashionista has once again been leaving her mark at the Venice Film Festival where she's also serving as a Jury member. First she dazzles in bold Oscar de la Renta, then she's "boss" in BOSS (hardy har-har) and is so confident in the beauty of her dress that she doesn't even bother doing her hair (hats off!), then she lets her hair down in a stunning Cushnie et Ocs jumpsuit, and she finishes off in regal Prada which she wore to the premiere of Everest. Can we now start a campaign to have her be in every Jury for every film festival ever? 

But Diane wasn't the only one giving fashiongasms in Venice! Another Jury member left me speechless. Find out who it is after the jump (and no, it's not Alfonso Cuarón...) 

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To J.Law on Her 25th Birthday

Jose here.

Dear J.Law,

How do I love thee? Let me count the ways
By picking 25 times your red carpet looks
have taken my breath away...

All the birthday girl looks after the jump...

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Interview: "Dior and I" Director. Film and Fashion Are More Connected Than You'd Think

Jose here to bring you and interview as the new documentary Dior and I opens in select theaters.

In April 2012, Raf Simons was announced as the new creative director at Christian Dior, fashion experts all over the world were surprised that they’d chosen a minimalist Belgian designer who up to then had mostly been known for his menswear, and when his first couture collection debuted, the house of Dior was once again giving people something to talk about, as Simons sought to pay tribute to the man whose “New Look” revolutionized fashion in the twentieth century. What few people knew was the behind-the-scenes drama that had the introverted Simons become the hero at the center of a thriller which had him try to deliver a couture collection in two months, as opposed to the six most designers are given to work with.

In his provocative documentary Dior and I, director Frédéric Tcheng gives us access to this exclusive world in which art and commerce are at constant odds with each other. Tcheng has amassed an admirable nonfiction filmography comprised of some of the greatest fashion films in recent years, he co-produced and edited the Oscar short-listed Valentino: The Last Emperor and co-directed the delicious Diana Vreeland: The Eye Has to Travel, but as he explained during our chat in New York City, he’s not interested in being “a fashion filmmaker”, but instead wants to tell compelling stories that transcend into the universal.

THE INTERVIEW

JOSE: Something that never becomes clear in the film is why he would agree to do the collection in eight weeks? Did you ask him about this?

FRÉDÉRIC TCHENG: (Laughs) I think the timing just happened to be that way, I’m not sure what was actually said at the meetings when they were negotiating his arrival, so I can’t speak for that. What I gather is that Dior wanted him to start with couture as a statement, not ready to wear, but couture, which happens only twice a year. Everyone was waiting for Dior to announce a new designer, and it took them almost a year to do it, so I don’t know what happened in those meeting rooms.

This time element gave you the tools to make a thriller! [More...]

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